Sunday, 23 May 1999

The Boy From Oz, 23 May, 1999

The Boy From Oz

at Princess Theatre from May 21, 1999

Reviewer: Kate Herbert

Peter Allen may have been the epitome of glitzy gay cabaret
but his life was no cheery cocktail. Nick Enright's dramatic script for The Boy
from Oz provides an interesting counterpoint to Allen's peppy songs.

Enright is master of the dysfuntional family. He keeps
action moving, the years flying and integrates the ebb and flow of Allens'
career and personal life.

Nee' Peter Woolnough, Allen was born into a tragic country
Australian family, married into an even more tragic American show-biz family
and died in tragic show-biz circumstances. The famous are not necessarily
charmed.

Allen was not a great dancer-singer but he was a showman -
and show-off and he wrote catchy tunes including Tenterfield Saddler and the
Theme From Arthur.

The versatile Todd McKenney, bouncing at a grand piano or
bounding coltishly across the stage, is a much better dancer-singer. He
captures the essence of this excitable, high-attention-seeking-unit.

Allen as a boy, played sweetly by Jordan White, dreamed of
"When I Get My Name in Lights". He hungered for fame, New York and
glamour. He was the ultimate groupie so, to fulfil that dream, he met Judy
Garland and married Liza.

As Allen's mother Marion, Jill Perryman is magnetic and
moving singing "Don't Cry Out Loud" after her husband's suicide. As
Garland, Chrissie Amphlett has great vibrato and vulnerability.

Angela Toohey bears an uncanny resemblance to Minnelli and
occasionally equals her power. Edwards has mistakenly demanded they play down
the personalities and voices of Garland and Minnelli perhaps to avoid the roles
outshining the character of Allen.

Gael Edwards production is slick, her staging echoing
Allen's 80s concerts. Act one felt uncertain and the convention of talking to
the audience awkward but act two was relaxed and more confident.

The chorus is tight with dancers posed stylishly in cabaret
tableaux, choreographed by (Anthony Van Laast). Stage design (Peter J. Davison)
cleverly relies on an empty stage peppered with single enormous images: a
spiral staircase, Opera House or the Qantas symbol behind an hilarious chorus
of air stewards.

Accolades go to McKenney who gambols in glittering shirts
(Roger Kirk) to make Allen's heart flutter. The band, under Max Lambert,
were in fine form. A major flaw was the backing vocal trio's independent
numbers. Murray Bartlett as Allen's lover, sings a superb and unembellished
version of I Honestly Love You and Garry Scale's cameos were exceptional.

Of course, I Go To Rio is the finale number complete with
bananas galore on headdresses.